Othman, S., Mohamed, R., Elkabany, A. (2018). A plastic value system of Ottoman mosaic in Turkey as a source for printed wall hangings design.. International Design Journal, 8(1), 265-270. doi: 10.21608/idj.2018.86312
Sohair Mahmoud Othman; Rania El Sayed Al araby Mohamed; Asmaa Abd-Elhakam Mohamed Elkabany. "A plastic value system of Ottoman mosaic in Turkey as a source for printed wall hangings design.". International Design Journal, 8, 1, 2018, 265-270. doi: 10.21608/idj.2018.86312
Othman, S., Mohamed, R., Elkabany, A. (2018). 'A plastic value system of Ottoman mosaic in Turkey as a source for printed wall hangings design.', International Design Journal, 8(1), pp. 265-270. doi: 10.21608/idj.2018.86312
Othman, S., Mohamed, R., Elkabany, A. A plastic value system of Ottoman mosaic in Turkey as a source for printed wall hangings design.. International Design Journal, 2018; 8(1): 265-270. doi: 10.21608/idj.2018.86312
A plastic value system of Ottoman mosaic in Turkey as a source for printed wall hangings design.
1Professor of Design, Department of Textile Printing, Dyeing and Finishing, - Faculty of applied arts- Helwan. University.
2Professor, Department of Textile Printing, Dyeing and Finishing, Faculty of applied arts -Helwan University.
3Faculty of Applied Arts - Banha University
Abstract
Islamic art quotes a lot of Greek, Byzantine, Roman and Persian elements, but it is composed a wonderful combination of them and added to what suits the taste and nature and created a pure Arab art of his independent personality The Islamic images were distinguished by the distance from the portrayal of the reality or from its imitation of a real tradition, perhaps due to the religious teachings which alienated from the compatibility of the creation of God. Therefore, the Islamic photographer did not care to photograph the elements found in nature, The images were free of abstraction, depth and logical. This led to the image becoming of a decorative nature both in its units and in its design, and the Muslim artist tends to cover the surfaces of the forms with a great deal of decoration, which called some skeptics to describe the surface and escape from the void but In fact, it is used to attract attention to its decoration, which is widely spread on the surface to reduce the hardness of the body. The common elements in the ancient arts were used such as sculptures, mosaics, plaster, oil paintings, fine metals, wood, ceramics, writings and other arts, The mosaic was one of the most popular decorations and arts in the Levant, and it appeared in Turkey, the mosque of Silmanian, the mosque of Sinan Pasha, the shrine of Shahrzade, the Blue Mosque, the Green Mosque, the green soil and other archaeological sites, which showed that the mosaic was in that period a renewed art and the attention of artists and Sultan All characterized by the geometric nature of the squares and stellar dishes, rectangles and triangles The study deals with the mosaics of the Ottoman period in Turkey through the presentation of some models of the Ottoman architectural monuments in Turkey and the use of the study of the Turkish Ottoman mosaics, and through the technical study of some models of them to create designs that fit contemporary printed textiles. Significance: shed light on the mosaics of the Ottoman era in Turkey and the connection between them and the design of textile printing and prominence as an important element in the creative design of new suspensions that contribute to the development of the design of textile printing, especially in the area of wall hangings. Statement of the problem: How to take advantage of the fine values of Ottoman mosaic art in Turkey to develop innovative designs for the field of printing textile pendants. Objectives: The aim of the research is to develop innovative design solutions for the design of textile printing, which achieve the aesthetic values that affect the design of the fabrics of the pendants by studying the models of Ottoman mosaics in Turkey. Methodology: The descriptive approach.
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2-أمل صبری محمد عبده," الفسیفساء الأسلامی وعلاقته الجمالیة بالعمارة ",رسالة ماجستیر , جامعة حلوان , الفنون الجمیلة ,1989,ص 67.
3-مصطفی نور الدین محمود "أثر الخامة ووسائل أخراجها فی أعمال التصویر الحائطی فی الفسیفساء ،رسالة ماجستیر ، کلیة الفنون التطبیقیة ، جامعة حلوان ،1976،ص75.
4-Helen Baird," Mosaics By design"،Joanna Lorenz،2009،Pag .
5-أصلان أبا (أوقطای ),"فنون الترک وعمائرهم ",ترجمة أحمد موسی , أسطنبول, 1987.
6-عبد الله عطیه عبد الحافظ ،"الأثار والفنون الأسلامیة "،القاهره2007.
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